Music self-played is happiness self made.

The New York Magazine of 10 June 1968 (page 49) tells how Milton Glaser found a person, now known as Tiny Tim,

‘who sang tunes of the ’20s and ’30s with abandon, accompanying himself on the ukelele, possessed of such an astounding variety of voices that he could sing both the male and female parts in a Nelson Eddy–Jeanette MacDonald duet with uncanny accuracy, as well as recreate the quavery tones of a Rudy Valee or the endearing style of the young Shirley Temple.’

Within a week of the above notice, Life magazine (14 June 1968, page 10) speaks of Expo 67, where

‘surrounded by the boos of 8,000 dubious Canadians, [Tiny Tim] insisted on going through with all three of his numbers even though he had to use his ukulele to bat off the pop bottles being thrown at him.’